Boys Birthday Party LegoBoys Bday Party IdeasLego Birthday Cake IdeasLegos PartyLego Cake IdeasBoys Birthday CakesLego PartiesLego CakesLego IdeasForwardThis Lego boy birthday party has a Lego man cake, popcorn bar and lots of great Lego ideas! If you want to learn how to write screenplays in any genre, you’ve got to be reading movie scripts from animated movies. The development of an animation movie script is similar in some respects to the process of iteration used in software development. It requires especially close collaboration between writers, directors, and animators at every part of the process – a process that can take 3-5 years – and often calls for integrating advanced technology into the writing process. After a lengthy phase of pitching ideas internally, movie scripts get written and rewritten through several processes, which can include: storyboarding, the creation of a story reel, pre-visualization, rough layout, final layout, and preview screenings. This is in contrast to TV pilot scripts, which are typically written by an individual (or writing team) in a much shorter period of time.
This isn’t a list of the “Best Animated Scripts Ever,” though there are some wonderful scripts included, but rather a group of 8 animation movie scripts that showcase different aspects of writing that I think are valuable. At a casual dinner party with Steven Spielberg, Jerry Seinfeld off-handedly said, “Wouldn’t it be funny if they made a movie about bees and called it ‘Bee Movie’?” Spielberg thought it was actually a good idea, called Jeffrey Katzenberg of DreamWorks, and quickly made a deal. “I was actually very scared to even take on the idea of writing a movie,” said Seinfeld. When asked if he trusted his co-writers, Seinfeld said, “I did. These guys actually happen to be my friends and I’m at the point where I like being with my friends, and there’s nobody else I really wanted to write with. I just kind of liked the vibe, you know? It’s more of an atmosphere. Sometimes writing comedy is just hanging around with funny people. Someone could not put one funny line into the script, but them being in the room makes you feel funny and then you think of funny things.
I can’t explain it, but this is how it works. Like there are certain people who are not funny at all – as you know (laughing) – and when we would write, if there was a person that would come in the room and it would be like someone just filled the room with water. You know, nobody felt funny any more. We couldn’t think of anything funny so we’d go, ‘You’ve got to get out of here.’” Discuss The Bee Movie Script Chris Melandandri, CEO of Illumination, pitched Cinco Paul and Ken Daurio the idea, “What do you think of the idea of a villain who adopts three little girls?” They were interested and started working on a draft. “We’ll write a draft in two or three months, but then we’re rewriting it for the next 2-3 years.” Ken Daurio and Cinco Paul initially designed the first movie to stand alone. Daurio said, “When we wrote the first movie, we certainly weren’t thinking about a sequel. But when we started really throwing around the idea of what was next… there’s this family now that is made up of an ex-super villain and three little girls and it’s not going to be easy for them to get along.
We said, ‘What’s the next step?’” In this video for HuffPost Live, Cinco Paul & Ken Daurio discuss how Despicable Me 2 was developed, how Paul and Daurio met (a church play), became writing partners, how they’ve made their writing partnership last, and their writing process. “We’ll get together and we outline 30 pages. Then, we’ll figure out what the scenes are then we’ll say, ‘That’s a Cinco scene, that’s a Ken scene and we separate.’ Then we get back together, put them all together and read it together on the computer. Mostly it’s a competition to see if we can make each other laugh.” In this video interview, Paul and Daurio share lots of helpful pitching advice and stories of their pitching triumphs and challenges. When they were first starting out, they used to sing their pitches. One unimpressed producer commented when they finished their pitch, “Well, that was loud.” Despicable Me 2 was nominated for Academy Award for Best Animated Feature, was the third-highest-grossing film of 2013, and broke a record as the most profitable film in the 100-year history of Universal Studios.
Discuss The Despicable Me 2 Movie Script Do You Know the #1 Screenwriting Obstacle that is Holding You Back?Almost Every Screenwriter Struggles with 1 of 3 Common Obstacles. Take the Quiz to Find Out Yours.Take 1 Min Quiz18 Ways To Cure Writer’s BlockHow To Speed Up Your Writing By Not Writing Batman has been in need of a great unburdening. It became necessary after Christopher Nolan's trilogy posited the Caped Crusader as a hulking avatar of turn-of-the-millennium anxiety. And it grew even more urgent after the drudgery of Batman v. Superman: Dawn of Justice, which was like chasing the heaviest meal of your life with a fully loaded, twice-baked potato. Over the last 50 years, Batman has crossed the spectrum from the campy, freewheeling POW! of the 1966 TV version to a grim-faced, gravel-voiced bulwark against festering corruption, urban blight, and existential malaise. Only the Joel Schumacher versions, Batman Forever and Batman & Robin, tried to Batusi in the other direction, but the backlash only catapulted the hero further into darkness.
In the exceedingly busy world of 2014's The LEGO Movie, Batman languished several names down the cast list, serving as the super-cool boyfriend standing between its dimwitted hero and the Master Builder of his dreams. But it advanced one small, important insight: Batman had become kind of a self-obsessed jerk and wouldn't it be funny to point this out to an audience that blithely accepted him as the hero of our times? As voiced by Will Arnett, Batman was re-conceived as a variation on other Arnett characters like Devon Banks on 30 Rock or Gob on Arrested Development, masking insecurity and ignorance with thundering arrogance and bravado. The LEGO Batman Movie is perhaps the best possible thing that could have happened to Batman and to DC, which has suffered for its humorlessness as Marvel movies have playfully cracked wise. In the spirit of the first movie — and of the act of playing with LEGOs themselves — the freedom to deconstruct and rebuild outside conventional parameters has the effect of liberating Batman, making him fun and self-deprecating again.
In fact, the arc of the story itself feels like a gradual unwinding of the clock, taking him from a surly, joyless echo in the Batcave to someone with the humility to be a team player. The self-deprecation starts before the Warner Brothers logo even appears. "All important movies start with a black screen," snarls Batman in the voiceover, primed to add another world-saving adventure to his mythological résumé. Once he does appear, however, the film etches a sad portrait of superhero bachelordom, with Batman as a Charles Foster Kane type who slumps home to an empty Xanadu and eats microwaved lobster thermidor in front of Jerry Maguire (which he takes as a comedy). With Gotham City once again under attack by the Joker (Zach Galifianakis) — and a wealth of major and minor villains in the Batman catalog, on top of appearances by the Eye of Sauron and other off-brand nemeses — the Caped Crusader can barely hide his boredom behind his mask. When the threat gets overwhelming, he reluctantly learns to work with a team that includes his devoted butler Alfred (Ralph Fiennes), his adopted son Dick Grayson (Michael Cera), and the glamorous new police commissioner Barbara Gordon (Rosario Dawson).
The first LEGO Movie turned a philosophical battle over the blocks themselves — are they better as meticulous, step-by-step model construction or a playground of creativity? — into a metaphor for the pleasures of nonconformity and free discovery. With that matter resolved, The LEGO Batman Movie doesn't have to fuss over the rules, leaving director Chris McKay (Robot Chicken) and his battery of screenwriters to move the fake-plastic pieces around the board without holding anything sacrosanct. Figures from The Lords of the Rings and The Wizard of Oz can, indeed, wriggle around in the same cinematic space as DC legends because the children who accumulate these toys have no reservations about it. The nonstop flurry of gags and references, on top of the hectic business of Gotham City literally breaking in two, is mostly a strength, especially for those steeped in comics and pop culture knowledge. The consequence is a structural looseness that would drive Will Ferrell's father in The LEGO Movie crazy, though any flabbiness resulting from the devil-may-care storytelling is a fair trade-off for a film so enthusiastic about screwing around.